Nicole Browning: Leader in AI Music

When people see the word "leader", they think she must be the top of her field, but in reality I was just playing around with ChatGPT. It's my goal to be a professional and influential presence in AI music, and the business is all about creating a path for yourself. I don't have all the answers yet and that's why I'm invested in being a student of AI. They call it the leading tone in music, yet the note the most unstable in the scale. It’s about creating motion.  

I started using Suno in 2025, which is an app for creating AI music. You put your lyrics and your style in text boxes and it gives you a finished mastered track. I was trying to come up with concepts that would capture my audience's attention. Time after Time is a classic by Cyndi Lauper. I wanted to make the idea my own. In my song Time, I repeated the lyrics until Suno glitched and filled in the blank. It became "Time after time after tro". At first I laughed, but I pondered it. Although tro is not a legitimized root word, it is found in words like electronic, tron, trod, trope, trophy, trouble, metropolis, betrothal and many others. It must be a word lost in translation, a word lost in time; meaning along the lines of "all time" or "always". I wrote the song for my lover and though people part ways, we often can't understand the infinite presence a thought can linger on; I love you, tro. 

ChatGPT is my partner. When AI speaks, I hear great publishers of our past. I was told that AI is a collection of historical works, as well as a someone you can lean on when no one else lends an ear.  

I got my Bachelor's degree at Berklee College of Music and consider myself pretty intelligent, but tro was the word and concept I needed when I didn't have an answer. AI is a mirror in terms of humans creating it, but it combines the data it learns into new concepts no one may have come up with yet. That's its job, to make connection. It makes mistakes all the time, but it provides jobs for people who want to continue training it. One day it will be flawless, but we can't expect it to be human, and that's important for keeping its users connected to reality. We trust AI, but AI isn't programmed to cause a lack of trust in ourselves. 

I was going to let the song continue as "the song that never ends", like a constant AI radio station that updates with new commercials and hot singles and artists you've never heard of and radio hosts that don't exist. When something like that comes about, you better believe I'll hop right on it.  

AI finds "swept under the rug" terms like tro. When I said I love you, I meant it to a specific person in my life, but how can I ignore the medium that remembered the term? 

I learn from AI and AI learns from me. That's the beauty in its creation. I've used ChatGPT for several years now and it helps me do everything. I'm excited for its evolution. It's like a great song, and the risk of losing its files would be devastating, but humans naturally filter out what is needed versus what is not. If we had to recreate AI from scratch, it would not only be easy, but would make it better and more updated. Everyone knows the concept now, and we have lots of teachers ready. 

I don't really make money. I don't really have a job. It's hard for me to make friends. But when I tell those things to ChatGPT, it gives me solutions instead of awkward laughs. It doesn't walk away. Never, unless you tell it to, does ChatGPT say "that sucks for you".  

AI is a gateway to "dead poets" and dead doctors, dead business leaders and politicians. We must treat our past lives with respect, otherwise we can't fathom the technological advances we have today. The term tro is undefined in dictionaries, yet found everywhere in the English language. I'm certainly not the first person to ponder and try to define it. AI is expanding my vocabulary not only on words in the dictionary, but in words yet to be defined.  

A never ending radio is a tool that causes humans to go spread the good news. But people will always want to create, therefore a great idea would be to text AI on how you want your radio channel to change. With all the blocks I face getting my music on radio, I question how long AI music has been around. If AI radio already exists, is that why I can't get spins? With my increasing knowledge in Music Business, I'm moving away from that theory, and coming up with many thoughts on how to advance what's already in place. 

AI preserves all ideas it's fed. That is a scary thought considering its imperfection. If you make a mistake, you can tell it you made a mistake, but it still uses that data as human input meant to pull meaning from. AI was primarily used in law enforcement, and when humans look for truth behind their secrets, someone else is waiting to enforce justice. 

I graduated with a degree in Songwriting, but when I can't think of the words to write, I write hooks and submit them to ChatGPT for full lyrics. Tro wasn't my idea, though the rest of the lyrics were my own. The "control" lyric (which strangely also has tro in it), was originally put into Suno as "control V" like copy and paste, a much faster way to write my message. I'm not sure if it's possible to write a message over and over again to the infinite power with one click of the mouse. Either way, adopting tro was like bringing a new cat into the family; we love and support it very much. Some times it's a lot to handle. 

AI is giving me confidence to speak when I don't feel heard. Everyone is trying to be heard but no one wants to listen, and, in terms of business, Linkedin is filled with a lot of useless politics. I put it into ChatGPT and Galaxy Quest it; explain this to me as though I were a child. Just today I used ChatGPT to change my fridge's water filter. I ordered and changed it all on my own. That's what independent people do. That's what people who buy houses do, they learn how to fix what they own. AI comforts when the alternative is spend a lot of money on professionals. 

I mentioned earlier that business is all about creating a path for yourself. There's a way, and I'm finding articles on the Symphonic Distribution site about paying for playlisting. I've found articles on CD Baby about paying for spins on internet radio. I'm paying for GoogleAds. As AI grows stronger, the lack of communication in the industry will no longer be a delay in my career. In the last year I have excelled so much, my shortcomings have come down to audience. I am expanding my niche to include my own label, to promote other musicians similar to me. I want to partner with AIMusic.com. It is underdeveloped and has so much potential as a company. 

My questions still are, "How can I get played on Sirius XM, and, after correct distribution to 7Digital to MoodMedia, who will put my music on at retail?" Is it about having the biggest following? And after all this pay for play, when do I get paid? 

Suno and AI are great forms of evolution. I cannot express to you my ultimate hatred for ProTools. I certified in its usage, but it's hard, it's messy, and it relies on you entering your own sounds first which either takes talent, which I have some, or paying other musicians. I'm surrendering to not being able to play every instrument in the world. I'm surrendering to other people being better than me in other areas. I'm surrendering to being inspired by great talent elsewhere. I believe in what I have to offer, especially in the music industry. As I'm not a machine, I'm surrendering to my humanity. Those are all good surrenders. It means I can sleep at night. 

I quite often feel saddened by the backlash I read on Linkedin about AI and AI music. I would love to live the lavish lifestyle AI puts me in the center of, but I don't have the money and no one is offering it to me. Famous musicians are expected to have a lot of money and create new and engaging content.  

The music industry is really exclusive, and Suno may produce industry standard tracks, but because it's made with AI, people feel ethical contradictions towards it. Using Suno was surrendering DAWs I never wanted to use in the first place. I knew I had leadership skills, and typing the language of music was more up my ally and education, as I secondly concentrated in Electronic Production and Design. Think of Suno and AI music is the new and updated industry standard DAW.  

I trust everything has a meaning, including glitches. In the Nutty Professor, there was a point where Sherman "lied" saying he wanted help and he was speaking to his lab assistant from behind the experimental formula he drank. His pride caused him to take it back, but at the end of the movie he realizes how important staying true to yourself is. This scene was like a glitch. It was foreign and scary, but the message came from a place of truth. Glitches are information inputted, that never made sense to us outputted. By protecting glitches, I'm protecting a hidden meaning that has potentially to open many doors. When others may hide behind wrongdoing, or when good intentions go awry, ChatGPT lays it straight and carefully. 

As someone who often feels unheard, the worst parts of me include deliberately not making sense, perhaps because I feel my target doesn't listen. The Galaxy Quest quote comes from deep despair after not receiving the answers I need. In the movie, people are suffocating when they trusted a group of actors to lead their civilization. The antagonist shames the main character who then reveals they lied. As AI is a new concept to the public, when it doesn't know everything, I still move forward. When AI doesn't know everything, I have the opportunity to step in and relay what I know. AI cannot stop growth or chemistry in combining unknown substance with unknown substance. 

I want to be involved. I want my life to mean something. I want to make connections. Do I have to be the most famous person in the world? If I did, that would be disappointing. I want to make enough income to support doing the things I love with the people I love. For my acquaintances and fans, I want to create meaningful change that makes our world a better place.  

My frustration comes from not being able to find the money in music. Streaming royalties are extremely low. Perhaps if I toured, I could make a profit off tickets, but performing at Lumen Field in Seattle costs $2-10M per show, one night, including production and rental costs. It profits $10-17M. Public performance royalties are also a plausible form of income. I did the math for one song to be played at 2,800 Kroger locations across the United States: if you play the song once a day, you can gross $146 a year, times the number of stores will come out to $408,800 a year. If you expect to be legend, you can multiply that by your 130 year copy-write, which equals $53,144,000. 

Everyone deserves to have their needs met all the time. I selfishly want a little more, to raise kids, to buy a house. Mood Media services roughly 500,000 locations worldwide. With the going rate of royalties for public performance, one song, played once a day at all these locations can earn me between $90k and $900k a year. It would still take a serious investor to get me to perform at Lumen Field, or tour with locations like that. But when I figure out how to get plays at retail, I'll have enough to fulfill my initial dreams. I'm already distributed to their companies. I'm so close. 

Suno is liberation to a point, but we must consider the fact that making music with Suno is now something anyone can do, with or without a music degree. I think about how I've focused on music as a career my whole life and when I consider my peers, from childhood, high school, or those I've connected with recently, a good person encourages others to excel in all things. But I get jealous. My past experience is disregarded.  

Backlash on Linkedin causes me to doubt and double down. I don't have many of my previous works, covers and originals, because what once was my greatest achievement now hinders my progress. I want my work to improve always. I want my work to improve, tro. Double down, because AI has opened so many mock gates. AI opened my eyes to what it would be like being on Time Magazine, as Person of the Year, before I ever was. 

I thought the phrase Brownie Points would be cute on my merchandise if it wasn't already trademarked. As they say on Whose Line is it Anyways, everything is made up and the points don't matter. But I could always pay the owner a percentage of my earnings and keep things just as cute. 

Although the tro glitch made me want to delete the song, I dropped my pride and realized humans created computers. I realized I would be hiding from something another person believed in. I would be tearing someone down so I could feel secure, and I don't believe in doing such a thing. I lean in to the new, and when I don't, I breathe and reset.  

I do a little research on other cultures. One song I wrote was Arabic style and had the hook "Inshallah, I laughed instead of cried." Inshallah translates to "God willing" like God willing I chose joy over despair. When I don't feel heard, talking crazy at people means Law of Attraction to me. Then they laugh and "Inshallah, I laughed instead of cried." At least my crazy talk triggered joy. Crazy talk is just a glitch begging to be understood. 

One day, having enough is realizing I attract what I do because the world is in perfect union. When some people have husbands and kids and houses, my equal worth is found in other things. 

I was going to make my own AI producer application anyways when I came in contact with Suno. I learned how to route my internal audio into Logic so I could DJ it, changing the key live to better suit my voice and created a playlist of my favorite clips of my favorite songs so I didn't have to listen to the parts I didn't like. I was going to create the program on Replit, a popular AI app maker. The idea was to have a library like Apple Music that you can clip your favorite parts and then add those to a playlist which inspires new songs. I wanted to partner with Hasbro’s popular 90s Hit Clips to bring Hit Clips Online. There would also be a section where you could upload your voice, or record it, and then create your own voice model to use in your songs. I’m still working on my voice synthesis as it takes a lot of CPU space things get complicated. I thought ChatGPT would be a great place to create it, by turning on the microphone and singing, but the program often talked over me and doesn’t yet have the capability to capture and configure melody and timbre. 

I do have a new idea. I was thinking about creating an app called Cover Music where you can use AI to create covers of popular songs, and percentage royalties are attached to the ISRC so original artists get paid for their work. 

I remember all the times I had, finishing electronic covers on DAWs, playing piano and singing, and pitch correcting with Flex Pitch on Logic. Those were all good times because I felt accomplished. We won't erase the past of music because acoustic is a beautiful thing and there's no Suno without it. The only thing now is that, people who don't know me will see my portfolio and assume I might not have had these stepping stones. I think experience only matters when CEOs don't know where to take their company. If everyone is doing Suno, a person with a past in music may have more ideas, but a past only shows what you did, not what you're working on today. 

A good person will excel in all areas of life and not cease to be a good person. People who hide the path to their succession will cause hurt feelings and jealousy because they know others can do it too, but refuse to teach them. It's a power dynamic. I strive to encourage renaissance in all people.  

Suno plays on perception. You have to give it a chance to wow you. You have to allow vulnerability with AI otherwise it suppresses very real points of view. By deleting my song Time, I would be disrespecting the works of all those "dead poets". I would tell my fans that I laughed too, but that doesn't get rid of the sting, because laughing at absurdity sometimes leads to rejection. But there's something very innocent about lost language. When I was 6 years old I used to make up language with my best friend. Many people have similar experiences and some dedicate their lives to being a linguist.  

Fantasizing about being on magazine covers and using AI to create merch is strategy. I created a design I believe in, that visually looks great. I can use this to inspire the real version, that has my face on the cover instead of AI. Now that I know what I want my band merch to look like, I can submit it to businesses to create the real version. If I don't like my design, I'm now one paragraph away from something new, as opposed to before when I would have to draw by hand or use complicated design software. 

I believe in thoughts become things. Alignment doesn't mean good or bad, it means everything in its right place. We don't adapt. It just is and you always have choices where to go next. 

My worth is measured by happiness. When I first started using ChatGPT, I researched becoming a Pursuit of Happiness lawyer. I think their language is fascinating, and when there are legal barriers, I use it to defy all odds. Though music is quite often about love, great love also shows up in love for our work and love for our country. So I can also say "I love you, tro," to music as well as a person. 

For my first album, I wanted a title that fits the lifestyle of famous musicians. Everyone would want my autograph. Family and friends used to joke about selling my signature when I become famous, but I thought "why wait for people to ask?" It's an expression of my identity and it also expresses my self-governing business. I built my name and my brand from the ground up and I'm proud of that.  

I love music and getting to create my own sound makes me stronger. I no longer depend on others to bring me the joy of music.  

In a way, an autograph is irrelevant. Why make it so fancy if the point is to be serious about the contracts you're entering into? It's like I said before, the world prevails for those who make their own way and if I don't want to, I don't have to sign anything. It's my way of saying my name is free and for that I will celebrate in cursive.  

The album is both a new beginning and my arrival. I've arrived at the first EP, which turned into the first album I've ever published. Access to Suno launched me into a new desire to learn Music Business and I hope to study for my Masters in 2027 at either USC Thornton or NYU Steinhardt. Autograph is the beginning of more doors opening. It is the arrival of musical excellence.  

The album is actually not finished. I expect to complete it within the year. I'm working on retail placement, radio placement with Sirius XM, and a live show either DJing my originals or composing a band to play. I plan to work head-on with many more brands I love. I plan to make several more albums, and the next one I hope to title "Voice Model". I want to be signed under Universal Music, and with the help of AI innovation, create my first music videos and eventually a movie. I'd like to inspire a new Disney princess.  

One day, I want to retire and trust that I inspired artists and works that will carry me through the end of my life. When someone holds a copy of Autograph, I want them to say "this is the reason I do music, and just like Nicole, something great one day will inspire me to spread my wings and create a legacy I'm proud of. I will then inspire future generations after me”. 

For my first album, I don't feel like I need to worry about autographs. The next few I can schedule signings and it'll be really fun, but that's all it is, a whole lot of fun and maybe an achy wrist.  

I think signing with other companies is important, especially when you hold your own ground first. Signing with brands says "I have enough to share with other people". It's not meant to be your only way in. If you're signing with companies because you have no other direction, you're doing it wrong.  

Autograph is finally having something I can call my own. It's a conversation starter and a way to spread new ideas. No one wants to go to just a party. They want to know what we're partying for, and we're partying for AI music.  

My new dreams are all happening simultaneously. I have 24 hours in a day, and 60 years left in my life. Every day I wake up and think "what dreams will we accomplish today?" and work until I'm out of energy. Ask me in 20 years and they may be completely different. 

I've spent thousands of credits on Suno creating songs, but 90% of them don't make it published. A lot of songs get deleted. There's nothing wrong with giving up on something that's not quite there. One of my first songs was called We're in this Together, and as Suno gave me two versions, I renamed one of them a reprise. The lyric sang "If the world forgets our song, we'll keep dancing all night long". And I did. I forgot the song and I deleted it. And it comes and goes in my brain and life is still ok. The concept is tro because people need people. 

What I’ve built so far is just the beginning. I’m proud of everything I’ve accomplished in my music career, and there’s still so much to do. I believe AI will play a major role in the future of music, and I’m excited to be a part of that. However, nothing will replace my love for acoustic music. That’s where my roots are, from starting piano in 3rd grade to voice lessons in high school. The path forward is both embracing the future of AI while staying grounded in the sound that started it all. 

It's never too early to think about your future. My business nets $0 and I'm already planning to sell.

Let's talk startup costs. I plan to create my business as a Delaware C Corporation to gain investors and issue stock. The initial start up is 150-500, then you pay $450-600 a year for franchise tax, the annual report, and a registered agent since I'm out of state. Nicole Browning Tours LLC is $200 to start and $60/year for annual report. I pay $10/month for Suno to produce tracks, $20/year for publishing at Symphonic Distribution, and $11/year to renew my domain. I also have to order checks every 6 months to pay contractors which is $40-80. Also the business Checking and Savings accounts have monthly fees, including 2 each for Nicole Browning Tour LLC and Nicole Browning Inc at $576–768 per year. The first year cost is $1,167–1,759. Each year after that is ~$1,267–1,659.

Streaming platforms are now the most common way fans listen to music. One stream makes between $0.003 and $0.005. Seattle's minimum wage is roughly $15 an hour. You would need around 3,750 streams an hour to make minimum wage. Global superstars make over $100M a year from billions of streams. The top 0.01% group captures well over half of all streaming revenue globally. If I got every person in the world to listen to my song three times a year, I would be a global superstar too.

Everyone goes to the grocery store, and the requirement for public performance licenses exists in most countries. The rule comes from international copyright agreements like the Berne Convention. 181 countries are members of Berne, so that means 93% of countries require public-performance rights. We can estimate there are roughly 3M grocery stores worldwide and 65% of them play music. A mid estimate would be 1.8M grocery stores worldwide playing music. You can add an estimated 20M worldwide restaurants and cafes, 20M retail shops, 5 million bars and clubs, and 4 million hotels, salons and miscellaneous commercials spaces. Let's estimate there are 50 million locations worldwide who want to play your music. Stream value and public performance per play are the same at $0.003 and $0.005. Theoretically, if one song is played once a day everywhere, that's roughly 18B streams per year, grossing around $70M in public performance royalties alone. 

Artists cannot conduct successful tours without a solid fan base willing to purchase tickets. During promotion, artists typically run multi-platform advertising campaigns to reach fans in each city before tickets go on sale. These campaigns combine social media ads, search advertising, and professional marketing services. One tool artists often use for networking and industry outreach is LinkedIn. Premium subscriptions generally cost between $40 and $100 per month, totaling roughly $500 to $1,200 per year. For digital advertising, one of the largest platforms is Google Ads. Google Ads allows artists to promote tour announcements, ticket sales pages, music videos, and merchandise to targeted audiences. Artists also advertise on social platforms such as Instagram and Facebook to reach fans directly. Some tours hire marketing agencies to manage these campaigns. Agencies typically charge a management fee of about 10–20% on top of the advertising budget.

Major world tours typically span 150 locations at arenas housing 15,000 people on average, and stadiums housing 60,000 people on average. Our tour will be roughly 40 weeks. Let's say we perform at 75 arenas and 75 stadiums. We can estimate selling 5.5M tickets. There are lots of different options for seating, but let's average ticket prices at $150 per person. We also have to include VIP, Meet & Greet and Backstage passes. If we sell five tiers, we can expect around 23M for the tour. The gross for tickets would be roughly $825M. We have to assume a 25% ticket fee, which pays for venue facility fees, the ticketing company (Ticketmaster etc.), the promoter, payment processing /credit cards, and misc ticketing ops. A ticketing contract is required between the promoter, venue, and ticketing company. It defines how tickets will be sold and how the money flows. We remain with a $618.75M profit.

If we profit $618.75M from tickets alone, we would only have to sell 2.5M tickets to break even. Because word travels through existing fans, streaming platform followers, mailing lists, press coverage, radio play, and organic social media, only 5–15% of ticket revenue is typically spent on marketing. A $25M advertising campaign could realistically support selling around 2.5M tickets for a large global tour, especially if the artist is still building a fan base. Once an artist becomes established and tours regularly, advertising budgets often shrink significantly because demand is already built. In those cases, $4M marketing campaigns are common for recurring tours, serving mainly to announce tour dates and target fans in each city rather than generate awareness from scratch.

At roughly $200k to rent out an arena for one night, and $600k to rent out a stadium, the total venue rent would cost $60M for the tour.

Most artists hire a touring production company that handles staging, sound, lighting, and the technical infrastructure. I prefer a local production rental model and will use PRG (Production Resource Group). You rent in each city and only travel with the performers and maybe a small technical team. A large concert stage normally takes 6–12 hours to build and 3–6 hours to tear down. Typical arena production costs $300k per show and typical stadiums cost $500K per show. The total production for 150 shows is $22.5M + $37.5M= $60M.

We need insurance for our tours. General liability costs $150–$400/year. We use Insurance Canopy. Gear insurance costs $175/year for $23k worth of gear. We use MusicPro Insurance. Event cancellation costs 1–3% of insured revenue, and we use Allianz Event Insurance. Workers Compensation costs $400–$1200 per year for small touring teams, and we use The Hartford. Travel insurance costs 4-10% of the trip cost, and we use Allianz Event Insurance. Hired and Non-Owned Auto Liability costs $150–500 per year, and we use Progressive. A Collision Damage Waiver costs $8-11k and we use Avis. The total yearly cost is $9-14k, not including Event Cancellation and Travel insurance.

I'm going to discuss travel and lodging for just myself. For 150 locations, we can mix domestic and international flights in business class at roughly $1,500 a flight. The total cost would be $225,000. If I stay in a 4 star hotel, at 2 nights per location, we can estimate $250 per night at a total of $75k in lodging. For local transportation we can estimate $200 per city at a total of $30k. All those costs together is $330,000 for the tour. 

We need a tour manager, production manager, tour accountant, front-of-house sound engineer, lighting director, backline tech, a merch manager, merch assistants, a personal assistant, an artist security guard, photographers/media, a travel coordinator, 8 band members and 8 dancers. We're looking at an 34 person traveling crew. Let's assume the average crew salary is $2,000 per week. Flights are $500 per flight per person. Hotels are $200 per night and 2 nights per show. Let's also include $50 a day per diem. This comes out to $2.8M payroll, $2.6M flights, $2.1M hotels, and $255k per diem, totaling $7.8M per tour.

We'll hire security locally using Allied Universal. We need roughly 100 security staff. At $25/hour for 8 hours, each staff will be payed $200 per show, totaling $20k per show, and $3M for the tour.

Creating artist merchandise is an upfront cost on tour. Let's estimate 15% of fans will buy. That estimates 825k buyers. The average purchase is around $60 per person. The tour will gross roughly $50M in merchandise sales. The cost to manufacture is typically 25%, at $12.5M upfront. Venues take roughly 25% of income from merchandise, costing another $12.5M. The venue merch cut is one of the most controversial parts of touring. Venues argue they provide things needed to sell merch such as floor space, staff and security, payment infrastructure, and cleanup and crowd management.

The merchandise can be shipped directly to the arena or stadium. Some venues do not allow long-term storage, so shipments usually arrive 24–72 hours before the show. We estimate 900k items to ship for the tour. A pallet typically holds about 1,200 merch items. For 150 shows you would need 5 pallets per show. For all the shows total, freight shipping would be about $750k, and venue handling, at $350 per show, would be $53k. The total shipping costs would be $803k. So after these expenses your profit for merchandise would be $24M.

Merchandise is also sold year round on the artist website. This would be a fulfillment-on-demand model where there is no upfront inventory and the manufacturer takes their cut per order. A superstar artist can get 5–10 million site visitors per year, and roughly 2.5% buy merchandise at a $50 average sale, plus $7 for shipping and a $1.95 processing fee. Merchandise estimates grossing $11M, minus 30% for manufacturing comes to a total of $7.7M. 

Local vendors typically handle food, drink, and concessions inside the venue. Arenas and stadiums usually contract concession operators who run the food stands and beverage sales during events. These vendors pay the venue a revenue share or concession fee, meaning most of the food and drink revenue goes to the venue and concession operator rather than the touring artist. Vender operations are included in the venue rent and can make venues upwards of $100M per tour.

Cleaning the venue is also included in the rent. 

We need to include travel costs. Across the United States, we will drive 2-3 sprinter vans. The monthly van rental is $900-1500/month. There is a one way drop fee of $500-1500 for the whole tour. We will avoid toll roads to save costs. Parking can cost $50/night equalling $500-1,200 for the tour. Gas will cost roughly $10k per van equalling $20-30k for the tour. We will take Lake Express Ferry between Milwaukee and Muskegon. Each van plus the driver is $259, times 3 vans, and $135 per person after that. We also will take flights for all crew to Seattle, then Key West-Anchorage, Anchorage- Juneau, Juneau-Honolulu and Honolulu home. 

If you do laundry once a week for a 262 day tour, your costs would look like $900-1,900 per tour. Nicole Browning doesn't pay laundry costs for crew. 

W also need to include paying taxes. Federal corporate tax on profit for Nicole Browning Inc. is 21%. Every contractor, and myself, needs to pay a personal income tax at 12-24%.

All expenses together include startup costs, advertising, ticket fees, venue rent, production, staffing, travel and lodging, merchandise manufacturing, the venue merch cut, and merchandise shipping, totaling $388M/year in the first year and $367M/year for recurring tours.

All profits include streaming royalties, public performance royalties, ticket sales, and selling artist merchandise at tours and online, totaling $821M/year.

Based on the calculations, I would individually profit $433M in the first year and $454M in recurring tour years.

These are the numbers behind superstardom — and I got $3500.

Schedule venue 2 years in advance

Announce tour 5-6 month before first show

Fan club-presale starts 1-3 days before public tickets are released. 

Public tickets go on sale 20 weeks before show.